CD Review: Collective Expressions

Live 2008: 5th Annual Concert Tour - SFJazz Collective - (SFJazz Records) - SFJazz began its life in 1983 as Jazz in the City,a program that coordinated concerts, community outreach and education in the Bay Area. The name change occurred in 1999 and, in 2004, the organization launched the SFJazz Collective, an octet that would bring the musicians from throughout the United States to the Bay Area for a multi-week residency and subsequent concert tour. Under the guidance of saxophonist-composer Joshua Redman, the octet would focus on the works of a single composer each season, developing a repertoire for the concert stage. In addition, each member of the ensemble was asked to create an original piece. After the tour (all of which was recorded), a multi-disk, limited edition, recording is released; the recordings are available only online from www.sfjazz.org.

While the personnel has changed over the 5 seasons (only pianist Renee Rosnes and alto saxophonist Miguel Zenon have been involved in all the residencies and tours), the mission and quality has never wavered. Starting with Ornette Coleman in 2004, SFJazz has presented the music of John Coltrane (2005), Herbie Hancock (2006), Thelonious Monk (2007) and, this past season, Wayne Shorter (the focus of this year will be pianist McCoy Tyner.) Arranger Gil Goldstein worked with the group for the first 3 seasons but, starting in 2007, each member now contributes the arrangements.

The 2008 octet featured Rosnes, Zenon, bassist Matt Penman (his 4th season), drummer Eric Harland (his 4th season), trumpeter Dave Douglas (his 2nd season) and, in their debut tour, tenor saxophonist Joe Lovano, vibraphonist Stefon Harris and trombonist Robin Eubanks. For the new release, the group chose 9 Wayne Shorter compositions (7 from the mid-1960s) and 8 original works. Spread out over 3 CDs (and 174 minutes), the recording is filled with great solos, intriguing melodies, creative arrangements, and striking interplay. First of all, the rhythm section is flat-out wonderful. Bassist Penman is propulsive, extremely melodic, and can really hold down the bottom. Harland, whose percussive work has graced the groups of Charles Lloyd, Terence Blanchard, McCoy Tyner and many others, is a fiery player; like Elvin Jones, he's a master of poly-rhythms and really goads the soloists into pushing the limits of their playing.

There is too much music here to go through every track but each musician shines on this program. Rosnes' arrangements of "Diana" and "Footprints" displays respect for the original versions. On the former, her voicings of the melody are gorgeous, and she gives Zenon the beautiful theme to work with. It's the shortest track (4:13) but, certainly, one of the highlights. The alto saxophonist, recently awarded both a MacArthur "Genius" Grant and a fellowship from the John Simon Guggenheim Foundation, is a sparkplug throughout. His arrangement of "Armageddon" kicks off the program and, within the first minute, one can hear the strengths of the octet. His original contribution, 'Frontline", displays his love for intricate melodies, shifting rhythms, and musical dialogues (after the opening theme, Lovano and Eubanks weave melodies around Zenon's flying lines - it's breathtaking music.)

The other musicians each show their mettle during the program. Douglas's take on Shorter's 1997 "Aung San Suu Kyi" (his tribute to the non-violent political activist from Myanmar) caresses the lovely melody then opens up to joyful solos. Harris, who took over the vibraphone chair from original member Bobby Hutcherson, continues to impress as a composer, arranger and soloist. His piece, "The Road to Dharma", is an expansive blues with a fine tenor solo from Lovano (who replaced Redman.) In turn, Lovano offers "This, That, and the Other", a boppish piece with rollicking solos from the composer, Rosnes, and a "hot" give-and-take featuring Harris, Zenon, Douglas, Rosnes and Eubanks. The trombonist, a mainstay in bassist Dave Holland's various ensembles, offers a shining arrangement of "Black Nile" (from 1964), building upon the composer's use of North African rhythms and easily slipping into the hard-bop sound that Shorter worked with in Art Blakey's Jazz Messengers.

This package has been in my possession since October 2008 and, despite listening to the tracks numerous times, I'm still hearing new touches, enjoying the arrangements, loving Harland's brilliant percussion work, and understanding how each musician blends his or her style into the Collective. If you enjoy the music of Wayne Shorter, appreciate intelligent interpretations, and want to hear 8 of the finest contemporary musicians "strut their stuff", SFJazz Collective will give you many hours of satisfaction.

Here's a video of the Octet from 2007 performing "Alcatraz," a section from Douglas's "San Francisco Suite."